The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
最近好多甜甜的同性恋青少年影视噢～虽然也就是看了两部～真的有被这些可爱到QAQ
OMG女通讯录终于能看点老套但轻松可爱活泼有趣养眼的青春校园片了🤣
这是一部全程无推理的剧情片的大作,男主Sai的每一次出场带动着剧情的推进,也牵引着观众的心情
也太难看了吧…特别是和hs同一类型前后播出，对比太强烈了，但是karen is still karen
故事一般，但是gl终于可以在一个普通的环境下谈一个甜甜的恋爱了
I can enjoy it without thinking. Forget about the holy shit reality! 是文化差异导致的审美取向不同么？AJ感觉在东亚地区会更受欢迎。
好久没看过让我觉得观感这么好的动漫电影了
女主太可爱了！！！其他演员的表演都有些用力过猛，有点子尬、、、女主的新crush长得太像我一个师弟了，我全程跳戏。青春爱情片还是要找点俊男美女演看着才有意思。剧情很一般。。。
响指转场。咖啡杯里冰块融缩代表时间的流逝。
hulu的青春校园爱情片。女主在寻爱的过程中发现一直暗恋的其实自己并无感觉，有感觉的恰恰是那个没注意的。而当没注意的那位开始对她有感觉时，又产生了误会影响了她俩的感情。不过都是小事，最后当然HE结局。电影里几乎全女性角色，而且大多都是拉拉和双，直女很少。唯一一个直男也很可爱，是女主的好友，这位直男在竞选学生会主席时也败给了自己的女友。男性在电影中完全被弱化，反而使得这部电影更加赏心悦目。
so cuteeee arrrrr fxxk！
最后那个love spell确实是可爱到了
因为lgbt题材看的，和爱你西蒙有点像，很轻松欢快的氛围，但是剧情演技有点拉。
米国校园片里比较喧闹浮夸的那一类加了点百合元素而已，评分虚高了
小清新姬片！不错以后能不能多拍拍这种啊🙏🙏🙏
和当年的青春片已经不是一个套路了。可爱又温暖❤️🧡💛💚💙💜💖
这种贴近生活的片子总能让get到我的点 转镜好评
因为lgbt题材看的，和爱你西蒙有点像，很轻松欢快的氛围，但是剧情演技有点拉。
如果未来有这样关注人们幸福指数的AI，那的确让人很感动……
这都差点流泪，有被二次元治愈到。跟《失控玩家》的关系设定有点像，但还好是同性AI，不然肯定又会觉得有点难受.....技术力真的可以很浪漫，搞科研看起来也好有意思！
Copyright © 2015-2023 All Rights Reserved
